Research On The Singing Music Of Pujiang

Pujiang fiddle is one of the six voices of wu opera,and it is also a long-standing theatrical genre in Pujiang County.It was formed in the late Ming and early Qing dynasties under the mutual influence of the local folk song "vegetable basket song" and the earliest drama in China,the Southern Opera.-It was formed in the late Ming and early Qing dynasties under the mutual influence of the Southern Opera,and has a history of three hundred years ago.Because it can be performed alone or with other voices,it has become a unique style of music from both the north and the south.In the existing studies,we found that the objective reasons for the formation,historical investigation,ontological form,and preservation of the Pujiang Rebellion have been covered,but most of them are introductory in nature,lacking in-depth analysis,or focusing on one point,which is not comprehensive,so it is important to analyze and explain the generation factors,ontological research,and musical aesthetics of the Pujiang Rebellion to form a thematic study.The main part of this paper consists of five parts,including an introduction and a conclusion.In the first part,we firstly sort out the various divergent views on the origin of the Pujiang Rebellion from a historical perspective,grasp its historical development,and examine the Pujiang Rebellion in its historical and social context.The second part explores the relationship between the singing language and the cadences of the Pujiang repertoire.Starting from three aspects,namely,the use of dialect,the structure of the sung words and the relationship between the cadences,the rhetorical techniques used and the sentence structure of the Pujiang folk songs are explained through the relevant score examples,and the relationship between the words,intonation and rhythm of the cadences and the sung words are analyzed and their general rules are summarized.The third part draws on the concept of "four paths" in the study of folk music morphology proposed by Mr.Liu Zhengwei,and analyzes a total of 110 scores of the Pujiang fugue cantata,deeply analyzing the melodic direction of the main cantata,the backbone of the music,the regularity and variability of tonality and structure,and concluding that [Sanwuqi] [Erfan] and [ The musical styles of the two sets of cantatas are different,but they form a contrasting and complementary relationship within them.On the basis of this,a comparison is made with the Taizhou jumble bomb cadence.The similarities and differences between the two are attempted to be summarized.Although the two are influenced by different regions and each has its own school of development,they are not unrelated and independent of each other.The fourth part selects the classic adaptation of the play "Princess Shuangyang" and uses it as an example to dig deeper from three aspects: plot overview,singing and musical structure.In the fifth part,through the investigation of the background of the Pujiang repertoire and the analysis of the lyrics and musical forms,we can conclude that the musical character of the Pujiang repertoire is both delicate and soft,as well as brutal and bold,due to the incorporation of the southern and northern dialects in the process of its development,its own dialect,its special geographical location and its unique customs.